scholarly journals How images are the making of the Women’s Art Library/Make

2007 ◽  
Vol 32 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Althea Greenan
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
Gender Politics ◽  
Feminist Art ◽  
Art Practice ◽  
Work In Progress ◽  
The Core ◽  
Women's Art ◽  
Special Collection ◽  
Significant Research

When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Sunanda Rani ◽  
◽  
Dong Jining ◽  
Dhaneshwar Shah ◽  
◽  
...  
Keyword(s):  
Women Artists ◽  
Visual Art ◽  
Feminist Art ◽  
Art Practice ◽  
Artistic Practice ◽  
Art Exhibitions ◽  
Art Exhibition ◽  
Research Papers ◽  
Women's Art ◽  
Tools And Techniques

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

Personally and Politically: Feminist Art Practice

1979 ◽  
Vol 1 (1) ◽  
pp. 21-35
Author(s):  
Tricia Davis ◽  
Phil Goodall
Keyword(s):  
Feminist Art ◽  
Art Practice ◽  
Feminist Art Practice

Utonal Life

2017 ◽  
Author(s):  
Leela Gandhi
Keyword(s):  
Imperfective Aspect ◽  
Work In Progress ◽  
The Core ◽  
Past Action ◽  
The Subject

Speaking to the idea of imperfect cosmopolitanisms, Leela Gandhi insists on this sense of imperfection, playing upon the grammatical import of the imperfect verb form: “Unlike the preterit form, which implies an already completed past action, the imperfective aspect renders an apparently concluded (perfected) action unfinished and suddenly infinitive. In this way the imperfectionism at the core of disapparation makes the subject of ethics into a perpetual—restless—work in progress.”

scholarly journals Critical Proximity

1970 ◽  
Vol 16 (2) ◽  
Author(s):  
Jane Simon
Keyword(s):  
Art Criticism ◽  
Conceptual Art ◽  
Written Language ◽  
Art Practice ◽  
Visual Objects

This essay considers how written language frames visual objects. Drawing on Michel Foucault’s response to Raymond Roussel’s obsessive description, the essay proposes a model of criticism where description might press up against its objects. This critical closeness is then mapped across the conceptual art practice and art criticism of Ian Burn. Burn attends to the differences between seeing and reading, and considers the conditions which frame how we look at images, including how we look at, and through words. The essay goes on to consider Meaghan Morris’s writing on Lynn Silverman’s photographs. Both Morris and Burn offer an alternative to a parasitic model of criticism and enact a patient way of looking across and through visual landscapes.

Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 291-311
Author(s):  
Agata Jakubowska
Keyword(s):  
Women Artists ◽  
Collective Actions ◽  
Art Exhibitions ◽  
Community Or ◽  
Women's Art ◽  
Starting Point ◽  
Interpretative Approach

In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture of creating an opportunity for women artists to meet – hence the word meetings – and to engage in a dialogue. Spotkania is the longest-lasting and most consistently carried out project enabling women artists to meet but, paradoxically, not intended to consolidate them. All of the exhibitions emphasised Gustowska’s certainty of essential closeness between women. This closeness was always characterised, very generally and indistinctly, as a kinship that becomes evident only when sought. An analysis of the exhibitions leads one to the conclusion that the combination of the conviction that women share essential similarities with an emphasis on their individuality and on the separateness of their artistic proposals, coupled with Gustowska’s distancing herself from feminism, are the reasons why Spotkania did not result in the emergence of any kind of community or in the undertaking of collective actions. The exhibitions remained as incidental meetings and their infl uence on the oeuvres of the women artists who participated in them is yet to be analysed.

POLISH FEMINISM – PARADIGMS

2019 ◽  
Vol 25 (25) ◽  
pp. 192-239
Author(s):  
Sylwia Witkowska
Keyword(s):  
Women Artists ◽  
The State ◽  
Feminist Art ◽  
Great Problem ◽  
The World ◽  
Successive Generations ◽  
As If

Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.

European cinema: Between Mit-sein, Da-sein and Nah-sein

2020 ◽  
Vol 18 (1) ◽  
pp. 11-24
Author(s):  
Thomas Elsaesser
Keyword(s):  
Thought Experiment ◽  
Continental Philosophy ◽  
Mutual Interference ◽  
Double Occupancy ◽  
Work In Progress ◽  
The Core ◽  
European Cinema ◽  
Globalized World

Abstract This article expands on some of the polemical theses the author proposes in his book European Cinema and Continental Philosophy (2018), focusing on the idea of European cinema as 'thought experiment', the notion of 'double occupancy', which the author now articulates in terms of a 'cinema of abjection' and the idea of 'mutual interference', which is now re-examined as part of a broader re-assessment of the core Enlightenment values of 'liberty-equality-fraternity' viewed under present-day conditions of asymmetry, but also in light of their 'antagonistic mutuality'. These concepts, taken together, are an attempt to put forward a change of both model and method when studying European cinema, one based neither on the 'Europe-Hollywood' binaries, nor on an ever-elusive identity, but rather on Europe's self-understanding as a 'work-in-progress', as well as on its position in a globalized world, in which it is no longer the central player. Elsaesser proposes to 'enlarge the context' ‐ a phrase coined by the European politician, diplomat and thinker Jean Monnet: if you cannot solve a problem, enlarge the context. Enlarging the context means taking a step back and focusing not on cinema, but on what in this period of intense internal and external crises we mean by 'Europe', before evaluating some of the ways in which certain films and filmmakers have positioned themselves in light of the challenges that are in play today.

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